Tropa Majumdar is a prominent theatre director and actor who has carved out her own place in the country’s cultural scene, growing up in a family closely associated with the stage. The daughter of veteran actors Ferdousi Mazumder and Ramendu Majumdar, she has carried forward her passion for theatre through directing and acting, while also teaching at the University of Dhaka and working in television.
Among her notable works is “Mukti”, a production she directed for her theatre group, Theatre, around 20 years ago and which has now completed its 100th show. More recently, she has directed her parents in “Love Letters”, a stage production that has drawn appreciation from audiences.
In an interview with The Daily Star, Tropa spoke about directing “Love Letters”, the lasting appeal of “Mukti”, her preference for the stage over television and the need for state patronage to keep theatre alive in Bangladesh.
The idea for “Love Letters” initially involved the late theatre personality Aly Zaker, who was expected to perform alongside Ferdousi Mazumder. “Aly Zaker Kaka wanted to act on stage with Ferdousi Mazumder. I, too, wanted to explore how I could bring two renowned artistes together on stage,” she said.
The script was read at Aly Zaker’s home, where he showed considerable enthusiasm for the project. However, his health began to deteriorate soon afterwards, forcing the team to wait for several months. Eventually, Aly Zaker encouraged them to proceed with the production.
Although Aly Zaker could not be part of the final production, his memory remains close to the team.
Directing “Love Letters” also required Tropa to consider how to keep audiences engaged in a play where the <a href="https://comicvibe.com/jay-z-announced-as-super-bowl-lxi-halftime-show-performer/” title=”Jay-Z announced as Super Bowl LXI halftime show performer”>performers spend much of their time seated. She explored ways to enrich the production through its staging, music and overall presentation.
“I tried to think about what else we could do and what we could add to make it better and more enjoyable for the audience,” she said.
Music played a significant role in shaping the production. “I went to Kolkata and obtained permission to use their music. Overall, I tried to make the production as simple and elegant as possible,” she shared.
The presence of two veteran artistes on stage has generated particular interest among theatre lovers. She said, “Many people who had not watched theatre for years have come to see ‘Love Letters’.”
Another important chapter in Tropa’s career is “Mukti”. The production, featuring four artistes, including Ferdousi Mazumder, has completed 100 shows, with all four performers continuing to appear in it since its inception.
Tropa recalled how Abdullah Al Mamun encouraged her to take up directing, emphasising the need for a new generation of theatre-makers to carry the work forward.
“Mamun Kaka used to ask, ‘What will happen after me? You will have to take up directing.’ It was his insistence that led me to direct the play,” she said.
First staged around two decades ago, “Mukti” continues to resonate with audiences, reaffirming the lasting appeal of theatre. “Completing its 100th show has helped me understand how interested audiences remain in it,” she shared.
Despite her involvement in television, Tropa has always felt a stronger pull towards the stage. She said, “Television did not attract me that much as the stage did.”
Nevertheless, she has appeared in several television serials directed by Afsana Mimi, including “Poush Phaguner Pala”, “Doll’s House” and “Sare Tin Tola”.
“When Afsana Mimi Apa was directing ‘Poush Phaguner Pala’, she scheduled my shoots on Fridays and Saturdays, which made things easier. I worked on the serial continuously for a year under that arrangement,” she recalled.
Beyond her own productions, Tropa is concerned about the financial challenges that theatre groups are facing in Bangladesh. The withdrawal of subsidies from the Ministry of Cultural Affairs has increased the costs for groups staging productions at Bangladesh Mahila Samity, a venue closely associated with the country’s theatre movement.
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“Theatre survives on state patronage around the world. Theatre can never run on its own,” she said. “Yet in Bangladesh, even the small subsidy that was provided has been withdrawn.”
She added, “The history of Bangladeshi theatre is intertwined with Mahila Samity. I hope the government will take a constructive initiative. I think the subsidy can be restored if the issue reaches the right people in the government. Perhaps it is not reaching the right place at the moment,” she said.
For Tropa, the future of theatre rests on the dedication of artistes, the continued interest of audiences and a support system that recognises the value of the performing arts. The success of “Love Letters” and the lasting impact of “Mukti” demonstrate that stage productions can continue to attract audiences across generations. Ensuring that theatre remains accessible and sustainable, however, will require more than the commitment of artistes alone.
